Qianhai Times Spring Culture and Art Center

Qianhai Times Spring Culture and Art Center stands at the heart of the Greater Bay Area, undertaking the dual mission of art and life. With "Circle · Garden" as the core narrative thread, its design aims to explore the symbiotic relationship between humans and nature, as well as between architecture and spirit. A "circle" symbolizes the image of infinity, while a "garden" represents a realm of inclusiveness. The integration of these two concepts forms the soul code of the Chunquan space.

Here, architecture is no longer a cold, rigid structure, but a flow of emotion and a cycle of the soul. Guided by the spatial philosophy of "integration, order, and connectivity", the design allows nature and art, landscape and interior space to permeate each other, turning every corner into a starting point for perception and reflection.

The spatial concept of Chunquan draws inspiration from the "Möbius strip" — a mathematical symbol representing "infinity" first proposed by British mathematician John Wallis. It symbolizes impossible encounters and eternal cycles, and also stands for the interweaving and integration of time and space.​

Drawing inspiration from this concept, the design infuses the essence of the "Möbius strip" into the entire space, allowing the architecture to extend in form and elevate in imagery. Every curve, ray of light, and path within the space becomes a metaphor for "endless ascent and eternal cycle". It is not merely a visual structure, but more importantly a spiritual dimension, echoing Shenzhen Metro Properties' brand philosophy of "Building Cities with Original Aspiration, Connecting to a Better Life".​

An egg-shaped sculpture stands serenely in the lobby, like a seed harboring boundless energy. The light and shadow cast from the ceiling resemble the infusion of extraterrestrial energy, symbolizing the nurturing of life and the enlightenment of the world. This place is not only the starting point of art, but also the awakening of Chunquan's spirit.​

As one moves deeper into the space, light and shadow flow across the stone surfaces. The warmth of Afghan green jade and the steadiness of Brazilian Versace Black marble create a striking contrast and dialogue. Jade, clear and free of impurities; stone, solid and timeless. The two echo each other beautifully, just like the integration of nature and civilization.

By the pool, the blue diamond jade sparkles like a galaxy under the lights, with the crystal installation reflected in it, resembling a miniature of the universe. As one walks here, it feels as if wandering through a starry realm; the heart sways with the light and shadow, stepping into a silent poem.​

Stepping into the interior, the spatial language shifts to softness and fluidity. Curves spread like water, as if depicting the pulse of nature. The ceiling lights float，light as clouds; both the materials and forms exude an aura of freedom and spirituality.​

Beneath the rammed earth dome, the light is soft yet restrained. The dome symbolizes the loftiness of the spirit, while the jade "spark of fire" underfoot represents hope and continuity. At this moment, the space achieves transcendence—it is not merely a physical container, but more a resonance of the spirit.​

In the "Interstellar Cruise" space, the trajectories on the ceiling resemble the orbits of the eight planets. Lines flow and light and shadow encircle, as if time has been stretched. Here, the insignificance and grandeur of humanity under the universe intertwine.​

The sand table serves as a symbol of the Earth, reminding people that the macrocosm and microcosm, the universe and the mortal world, are inherently part of the same cycle.​

The negotiation space takes the "aircraft carrier's forward cabin" as its concept, symbolizing leadership and exploration. The shape of the sofas is derived from the dialogue between ocean waves and rocks, combining softness with firmness. The carpet, ceiling and lights merge into one, creating a visual tide.​

The furniture selected includes works from Italian and American master artists' brands, using smooth lines and textures to create an experience that combines nobility with warmth. The design here does not focus on showing off skills, but on expressing luxury with restraint, allowing the space to return to spiritual tranquility.​

As the light fades, the atmosphere of the space becomes increasingly soft. Mist shrouds, moss grows, and screens loom faintly, like a mountain forest in the middle of the city. The designer uses nature as a brush and time as ink, allowing the space to extend the texture of life with every breath.​

A golden curve winds along the ground, connecting different themed spaces. Like a city's subway line, it shuttles through every "spiritual station". The alternation of solar terms – "Beginning of Spring", "Rain Water", "Spring Equinox", "Awakening of Insects", "Grain Rain" and "Pure Brightness" – is endowed with architectural language in the space, forming a fusion of Eastern philosophy and modern design.​

The executive lounge uses Versace Black marble and Beige Gold marble to create a dreamy night scene. Poliform's "Crab Chair" and Italian sofas, with their elegant lines and calm posture, reflect the subtle sense of ritual in circle socializing.​

The red wine and cigar bar showcases elegance through the ultimate restraint of Armani/Casa, and the low-key green jade continues the "breath of nature". The light is as soft as woven fabric, and the space exudes nobility in tranquility.​

The tea room continues the theme of moss and nature, borrowing scenery and creating contrasting views in a progressive manner. Here, sipping a cup of light tea and listening to a piece of ancient music, one's heart resonates with nature. Just as the ancients said: "One can enjoy the comfort of mountain forests without leaving the city, and experience the joy of woods and springs even in the busy downtown."​

Qianhai Times Spring Culture and Art Center is a poem with space as its rhyme. With "Circle · Garden" as its form and "Möbius strip" as its soul, it weaves architecture, nature and humanity into a single picture.​

Here, art is not an ornament, but another dimension of life; space is not a closed container, but a dialogue about eternity.​

–

Project Name: Qianhai Times Spring Culture and Art Center

Location: Qianhai Era, Nanshan District, Shenzhen City, Guangdong Province,

Design Company: METROPOLITAN DESIGN;YANG & ASSOCIATES GROUP

Chief Designer: Yang Bangsheng & Liu Yan

Assistant Designer: Li Dai & Integrated Real Estate Design Department

Area: 5000 ㎡

Project cost: Soft decoration 40 million RMB, Hard decoration 40 million RMB

Completion date: May 20, 2023

Main materials: Stone, texture paint, metal, wood veneer

Client Name: Shenzhen Metro Group Co., Ltd.

Photographer: Zhu Jianli

Email: yangbangshengzj@hotmail.com